Slaves, Death, And Other Happy Topics

Westerns. The word that makes most people think of grainy movies made in the sixties and seventies somewhere in Europe and dubbed in American; probably starring John Wayne, Clint Eastwood, or Henry Fonda. We think ponchos, ten gallon hats, Native Americans, saloons, bank robberies, Mexican stand offs, the quick draw. We rarely think Germans and shiny blue suits. Well today’s film might change that. This is Django Unchained.

German bounty hunter, Dr Schultz (Christolph Waltz), frees young slave Django (Jamie Foxx) to help him be his temporary partner in order to track down the Brittle brothers, three men who had previously been in charge if Django and his wife, Broomhilda (Kerry Washington). The two bounty hunters form a bond as Schultz teaches Django how to present himself in public and be a master with a gun. Django, with only natural talent for the job to offer in return, becomes Schultz full time partner over winter, and they plan how to free Broomhilda from plantation owner, Calvin Candie (Leonardo DiCaprio). Candie is famous for breeding 'Mandingos', slaves who fight one another to the death with just their hands for the owner's amusement and betting purposes. Schultz and Django pose as traders of Mandingos looking for a slave to take back and fight in Europe. Their plan is to purchase one of Candie's best Mandingos and also Broomhilda, seeing as she is just a meaningless slave, so that she may be reunited with Django again. But Stephen (Samuel L. Jackson), Candie's loyal house slave and foreman trustee, does not trust Django for one second; something about a black man on a horse tickles him the wrong way and he is determined to find the bounty hunters' plot.

Candie was such a successful plantation owner
because he was always ahead of the competition.

There is a possibility that Tarantino has a supernatural gift in terms of his ability to perfectly cast a film, except  one character - but we will come to that. Despite Django being specifically written for Will Smith, Jamie Foxx adapts to the role without even a shadow of a doubt. He is effortlessly cool and he portrays Django's range of emotions, sometimes without saying a word. In his eyes you see the pain, the sadness, occasionally the happiness that Django would feel. DiCaprio's first outing as the antagonist is one of his most succesful to date. How he did not get nominated for an Oscar is beyond me. Acting so well to the extent that when he actually cuts his hand in a scene, he carries on to the horror of his cast mates. Incredible. Tarantino describes it as 'mesmerizing.' Christoph Waltz, needless to say, is outstanding. Nominated, rightly, for an Oscar, his second one under the direction of Tarantino. This is a team that works together. The comic relief of the film, but also the plot driving centre, along with Django. His character is complex but Waltz makes it seem effortless. Another brilliant performance. But the real stand out is Samuel L. Jackson. Not an Oscar performance, but the character that induced the most reaction from the audience. The reaction of hatred. Stephen is such a slimy character with a superiority complex that just makes him detestable. Superbly portrayed by Jackson. Horridly enjoyable.

The newest Django meets the oldest Django in a quick cameo.

On to the man behind the camera. Quentin Tarantino. This is a man who turns out hit after hit and Django is no different. Incredible shot, as all westerns are, with a soundtrack to die for. Funny and heartbreaking. Fitting action that suits all adrenalin needs. It is clever, it is strong, it is slightly controversial. It is simply all encompassing. That being said, the film is not flawless. It is just a tiny bit too long. Only minor cuts need to be made, just to take out the smallest sensation of, 'we have aaagggeesss left,' or, 'this film is soooo long.' It's only a slight feeling of 'too long' but it's there all the same. Not a huge issue, but an issue nonetheless. Secondly, and more irritatingly, is Tarantino's own appearance in the film. Normally a welcome addition to his films, but here, in his peculiar attempt at an Australian accent, something just is not right. He is next to impossible to understand and it completely jars with the rest of the film entirely, considering the rest is so well acted. Again, a small mistake that just takes something away from the film. But apart from these two small, irritating issues, Tarantino is in full stride.

A great film. Pretty much exactly what you would expect from Tarantino, Django Unchained is hilarious, action packed, touching, and down right cool. Some fantastic performances and a killer soundtrack, combined with some amazing cinematography pushes Django above the competition. Not Tarantino's best, but it is up there.

Best Bit? The scene with the early KKK complaining about their bag-masks will keep you laughing for ages after the film has finished. Plus, a great little cameo from Jonah Hill.

Korean Cowboys? (Re-review)

Yesterday I put together an archive page of all the things I'd written on this blog. Whilst I did this I read back through some old blog posts and realised how bad some of them were. Here I am wanting to promote my blog and it has some terrible reviews. So, I've decided to re-review a few. Particularly ones on films that I want people to read about. Today's film is a western with a twist: it is Korean. It is a tribute to classic westerns, particularly The Good, The Bad, and The Ugly, but it it is its own movie entirely. This is The Good, The Bad, The Weird. (Original review, should you want to compare, is here)

The plot plays tribute to the overall story from The Good, The Bad, and The Ugly. Well, at its most basic level. Three men, one treasure. Leading to the treasure is a treasure map which is in the bag of a very important banker on a train somewhere. On that train is Yoon Tae-goo (Kang-ho Song), otherwise known as The Weird, with the intention of stealing a load of money from this banker. Also on the train is bounty hunter, Park Do-won (Woo-sung Jung), The Good, trying to make some money by catching criminals, like Yoon Tae-goo. Planning to stop the train is Park Chang-yi (Byung-hun Lee), The Bad, and his thugs in order to get his hands on the map. Havoc breaks out and, somehow, Yoon Tae-goo (The Weird) gets away with the map. Cue a wild goose chase to get the map and the treasure: the three men constantly battling for the map as well as being pursued by the Japanese Army and Chinese Bandits. With too many battles to count, who will get there first, and alive, to claim the treasure?

The expression, 'You're screwed,' springs to mind.

When the film was announced, fans of Korean action were sceptical towards Byung-hun Lee playing the bad, borderline psychopath, Park Chang-yi. Their worries were completely ungrounded. Lee does not just nail the role, he encapsulates it. He makes it his own. If there is ever an American remake of the film, there is no one who could capture the role quite like Lee. He is cruel, brutal, smart, vengeful, and sexy. He strikes a perfect balance with his co-stars. Both he and Jung (The Good) are calm, cool, and collected which contrasts wonderfully with Song's manic, weird, and crazy performance as Yoon Tae-goo. Song brings most of the comedy to the film, dodging bullets with a divers helmet, getting offended that his bounty is only the amount of a used piano. He never slips from his excitable persona but there is clearly something deeper, more psychotic there. Finally, Woo-sung Jung is the coolest of the bunch. Swinging through the skies on a rope firing at Chinese thugs, it doesn't get much cooler than that. He never raises his voice or does anything extreme, but at all times it seems that he is the one in charge. His interaction with Song's Weird shows his power, smarts, and also his wit.

'How to Look Good Whilst Killing' The latest novel from Park Chang-yi

Direction from Jee-woon Kim is possibly the most underrated that cinema has to offer. There is no film shot quite like The Good, the Bad, The Weird. Cameras follow the action closely but also give a feeling that the audience are involved. Spinning camera shots through action creates the illusion the the audience are now right there, experiencing it through a first person perspective. Not only this, but a lot of it is simply beautifully shot. The men riding through the desert on horses or motorbikes, shooting one another over long empty landscapes, riding horses at sunset, everything is just astounding. The script, too, is something that is completely underrated. It may be due to the language barrier but not only is it hilarious, it is also peculiarly philosophical - "People must know that they’re going to die, and yet they live as though they never will. Hilarious." There's a brilliant moment near the beginning in which the Chinese thugs are overlooking the chaos on the train and discuss how they have no clue what is happening. A very funny moment. Also, listen out for the tribute to The Good, The Bad, and The Ugly's iconic score during the visually breathtaking chase scene near the end. Super.

An incredible example of foreign films being better than a lot of the films that Hollywood produces. Specifically, it looks at remakes not being the only option for great films. This film is a tribute that has a similar base plot to The Good, The Bad, and The Ugly, but solidifies itself as a classic without actually remaking the film it adores. A must see. If you're put off by the idea of subtitles, you are missing out horribly. Do a bit of reading and watch this fantastic film.

Best Bit? Well, it'll have to be the final chase scene. Everything about it is awesome. It is on such a massive scale, and yet it is easy to follow all the individual characters as they fight. Simply brilliant.